Thompson Twins - Doctor! Doctor! (Arista)

"Doctor! Doctor!" was made in Nassau, Bahamas, and the record has a transatlantic sheen. Whereas a year ago the Twins were gawky pop novices still shedding their hippie roots, now they speak the international language of Michael Jackson, Duran Duran and Hall & Oates as if it was their nature. Which I'm sure it is. Some people might say they've sold out, or that their slick pop lacks soul, but I'd rather hear trivial Thompsons than any of the worthies who inhabit the independent charts. After the addictive "Hold Me Now", "Doctor! Doctor!" returns to the electro-pop territory of "Love On Your Side", but with much more style and confidence. (Phil McNeill, No 1, January 28, 1984)

Their last single was my favourite record of December '83. They seem to have hit on a formula which will ensure their growing success for some time to come. In my opinion, not as good as "Hold Me Now". I wish they wouldn't feel obliged to dance about so much. (Martyn Ware, Smash Hits, January 19, 1984)

Again there's this amazing uniformity of keyboard sounds, they're all using the same gadgets. I can see the video now, a strange house, a woman disappearing into some doors that close mysteriously behind her, and there's got to be a rose somewhere. It gets better as you listen to it, though, but I don't think it's up to their two biggies. I have a lot of time for these guys, and the single's got a good chance with their name behind it, but the beginning is a bit standard. (Stewart Copeland, Record Mirror, January 28, 1984)

Simple Minds - Speed Your Love To Me (Virgin)

You'll be relieved to know that I haven't been bribed by Virgin to review this one well but nevertheless this is a very catchy piece of material from some great friends whose taste in music is not dissimilar from our own. This verges on the modern gothic but they had better be careful because it also sounds surprisingly similar to their last single ["Waterfront"]. It will be a hit but the massive one they deserve will elude them this time. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

One of my favourite bands - another Simple Minds classic. (Steve Strange, Record Mirror, January 21, 1984)

B-Movie - A Letter From Afar (Sire)

On the back of the sleeve these guys are posing in an extremely macho fashion with a very nice car in the middle of the desert. They're as pretty as Duran Duran and younger probably. But however much Duran Duran may be favourite whipping boys for the music press, one cannot deny that they have musically progressed far beyond the pale, uninventive stereotypes that follow in their wake - like this. Still, given the state of the charts, this could well be a hit. Who knows. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

B Movie have been around some time now, but they're still searching for their first hit. From their Some Bizzare beginning they've now enlisted the aid of hip New York producer John 'Jellybean' Benitez but he can't do much to help. As a dance record it's depressing, and the swirly Eastern break in the middle just sounds incongruous. Back to the drawing board. (Karen Swayne, No 1, January 14, 1984)

Pat Benatar - Love Is Like A Battlefield (Chrysalis)

My mate Spizz really fancies Pat because she's thin. I can't get over the fact that every American you hear wants to be modern. They think that by putting a sequencer or a synthesizer or a Linn drum in the background, this qualifies. How wrong they are. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Another re-release. Heavy stuff from Pat. The first part of the record is very jumbled and it's hard to decipher what she's singing about. Nowhere near as good as the excellent "We Belong". (Marshall O'Leary, Smash Hits, March 14, 1985)

Thomas Dolby - Hyperactive! (EMI)

The mad professor of the music world is depicted on the cover with a shock of hair standing on end, fiddling away manically at a violin. It's what comes of making records with Magnus Pyke, I s' pose. Still, looks like Tom's come up with a winner this time, and should get that British hit at last. It's title sums up the record - its' a furiously fast blast of choppy funk with some fearsome vocals from an unidentified girl singer. (Karen Swayne, No 1, January 14, 1984)

Another brilliantly-produced single from Thomas. It has a high originality factor and deserves to be a success. However, one can't help thinking that the chart buyers aren't willing to accept a record that doesn't appear to have an identifiable chorus. It's only a matter of time for him anyway and working with Michael Jackson (which he's just done) is probably more exciting than having a British hit. So who cares? (Him probably.)  (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Note: The girl singer providing backup vocals was Adele Bertei, who had her own hit a few years later with "Just A Mirage".

Spear Of Destiny - Prisoner Of Love (Epic)

A rather natty pack of two 7-inch singles, featuring two sides recorded live in Gdansk (bless you). I was expecting not to like this but it just goes to show how wrong you can be. It reminds me of a cross between Velvet Underground and Gary Glitter and I like them both. Bargain of the fortnight. Make these men stars. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Spear Of Destiny are such a great band...I don't think this is the single they should have chosen. (Steve Strange, Record Mirror, January 21, 1984)

The Colour Field - The Colour Field (Chrysalis)

Thirty seconds into this I thought Is it was Echo & The Bunnymen's B-side and then a voice sounding like Terry Hall came on. "It's Terry Hall," I shouted to Glenn [Gregory], Sarah and Karen. "It can't be," they said. But looking at the cover, it is. For the next minute of the song we were totally riveted. However by the end the rivets had fallen out. I hope it's a hit because I really like them and I like Terry Hall because he never smiles. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Terry Hall has obviously been spending his time since The Fun Boy Three split productively. He's managed to find a couple of guys whose expressions are as deadpan and morose as his. He's also brought out a brilliant record. Although never a barrel of laughs, Terry Hall's work is rarely less than excellent and this is no exception. The distinctive vocals and melancholy tune on first hearing make this sound similar to FB3, but there's more emphasis on mood, less on rhythm. His view of the world is as jaded and cynical as ever, but it's good to have him back.  (Karen Swayne, No 1, January 14, 1984)

Terry's voice is so easily recognizable that you immediately think of Fun Boy Three - but don't be misled, it's very different, interesting and new. It's hard to say if this will be a hit, but is that what he's aiming for? I hope it does well. (Steve Strange, Record Mirror, January 21, 1984)

Cyndi Lauper - Girls Just Want To Have Fun (Epic)

I've already heard this on the radio and I confess to liking it. Nobody else I've talked to likes it, however. It may be a bit too chirpy for some people but the more I hear the more I like it. I believe she comes from New York. (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

Apart from showing a bit of leg on the cover, Cyndi Lauper's talent seems to rest heavily on her ability to swallow large amounts of helium. Cyndi apparently used to sing with a band called Blue Angel in New York's Greenwich Village and is being touted by many as the American Tracey Ullman. This song's certainly as squeaky and squawky as our Trace and I'm assured there's an hysterical video to match. (Paul Simper, No 1, January 7, 1984)

Showing vast a mounts of leg on the front cover - I think she's got more leg than I've got body actually. An Interesting record, a bit different. (David Grant [Imagination], Record Mirror, January 7, 1984)

Australian Crawl - The Boys Light Up (Geffen)

I can't bear Australian groups. They all sound like bloody Men At Work and they've all heard about three reggae records and they've put the same reggae rhythm on every track, no matter how unsuitable. They all sing like Sting (or would like to) and the only one that's been worth anything is Split Enz and they come from New Zealand. (There is an exception to this rule - Icehouse. They want to be Roxy Music.) (Martyn Ware [Heaven 17], Smash Hits, January 19, 1984)

The band with the unenviable task of 'warming up' Duran Duran audiences on their recent tour sound more like they'd cool the proceedings down. A ponderous single which takes forever to get going and really isn't worth the wait. (Karen Swayne, No 1, January 14, 1984)

Crawled 'round to the record store and bought a few Men At Work albums, obviously. (Lemmy [Motorhead], Record Mirror, January 14, 1984)

Note: Despite all the Men At Work references, "The Boys Light Up" was in fact a three year old single, belatedly released in the UK as a result of the burgeoning interest in Australian bands. 

Prefab Sprout - Don't Sing (Kitchenware)

This one reminded me so much of The Associates but without Billy's wonderful voice. The time changes and chord sequences are reminiscent of Aztec Camera and this can only mean: a) a hit; b) a severe rise in credibility; or c) hopefully both. I really like it. Single Of the Fortnight. (Martyn Ware, Smash Hits, January 19, 1984)

With a name like Prefab Sprout you'd expect something a wee bit eccentric, and 'Don't Sing' is no disappointment. A lot of folk are making a fuss over these three lads and a lass from Newcastle. On first hearing this record it's hard to see why, but its oddball melody and rambling flute soon grow on you. Should do well in Brussels. (Paul Simper, No 1, January 7, 1984)

I like the harmonica. It's not the sort of record I'd normally go for, but 1 quite like it. They're an interesting group, although I don't know whether it will be a hit. (Stewart Copeland, Record Mirror, January 28, 1984)